<?xml version="1.1" encoding="utf-8"?>
<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">HASS</journal-id><journal-title-group><journal-title>Humanities Arts and Social Sciences</journal-title></journal-title-group><issn>3066-8301</issn><eissn>3066-831X</eissn><publisher><publisher-name>Art and Technology</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.61369/HASS.2025050001</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>指示性媒介与共同体美学：改革开放以来“丝绸之路”题材纪录片的美学演变</title><url>https://artdesignp.com/journal/HASS/1/5/10.61369/HASS.2025050001</url><author>张栋鑫</author><pub-date pub-type="publication-year"><year>2025</year></pub-date><volume>1</volume><issue>5</issue><history><date date-type="pub"><published-time>2025-07-20</published-time></date></history><abstract>雅克&amp;middot;朗西埃（Ranci&amp;egrave;re）认为，一个共同体的存在依赖于一种共享的感知机制或感官结构，这种结构的功能是让&amp;ldquo;共同的世界&amp;rdquo;对于共同体成员来说变得可感、可理解。基于这一观点，纪录片通过对各种类型的符号进行安排、组合，从而形成对&amp;ldquo;现实&amp;rdquo;结构重新理解的指示性媒介（indexical media）。本文基于哲学家雅克&amp;middot;朗西埃关于纪录片指示性特征的观点，旨在研究1980年至今&amp;ldquo;丝绸之路&amp;rdquo;题材纪录片中美学演变路径。</abstract><keywords>雅克·朗西埃,共同体美学,指示性媒介,“丝绸之路”题材纪录片</keywords></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>[1] Plantinga, C. (2005). What a documentary is, after all. Journal of Aesthetics and Art Criticism, 63(2), 105&amp;ndash;117.[2] [ 美] 比尔&amp;middot;尼科尔斯. 纪录片导论 [M] . 陈犀禾, 刘宇清, 郑洁, 译. 北京: 中国电影出版社, 2007: 9.[3] Baumbach, N. (2010). Jacques Ranci&amp;egrave;re and the fictional capacity of documentary.New Review of Film and Television Studies, 8(1), 57&amp;ndash;72.[4]Nichols, B. (1991). Representing reality: Issues and concepts in documentary. Indiana University Press.[5] Ranci&amp;egrave;re, J. (2003/2009). The future of the image (G. Elliott, Trans.). Verso.[6] Ranci&amp;egrave;re, J. (2004). The politics of literature. SubStance, 33(1),10&amp;ndash;24.[7] Ranci&amp;egrave;re, J. (2000/2006b). The politics of aesthetics: The distribution of the sensible (G. Rockhill, Trans.). Continuum.[8] JacquesRanci&amp;egrave;re, The aesthetic heterotopia, PhilosophyToday, no.54, 2010:24.[9] 饶曙光. 观察与阐释:" 共同体美学" 的理念、路径与价值. 艺术评论,2021,3:27.[10] 孙婧, 饶曙光." 共同体美学" 的理论源流及其方法论启示&amp;mdash; 饶曙光教授访谈[J]. 海峡人文学刊,2022,2(02):88-96.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
